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York Theatre Royal – 15 February 2019

Reviewed by Marcus Richardson

2**

Dance Double Bill at the York Theatre Royal was an interesting experience to say the least. I would like to start off saying that the name of the show was rather misleading, as I would rather call the performances physical theatre. The first performance was a group of five dancers improving a dance on stage, for me this was the better of the two performances. The second was based on a performer called Plastic who changed himself, this didn’t really flick any switches for me. I love dance, I love bodies, I like how they move and how you can make something entertaining with them, so why didn’t I fall in love with this show? 

The First performance made me laugh at points and it was interesting to watch the performer create the show as we were watch it. For me the saving grace of this performance was the comedy element, they were having fun on stage and we were laughing at that. The performance lasted about 30mins which I think is the best time for a experimental piece such as this, however I couldn’t bring myself to really like it. I don’t if I was expecting a choreographed dance or If it was too out there for me too enjoy. I did enjoy watching how each performer worked with each other and they did work well as a team to create a bizarre piece about room service and Chardonnay.

The Second performance did not entertain me what so ever, Plastic Soul by Seke Chimutengwende, followed a character called Plastic who would change himself to be a better performer, but at one point he was an atom or an insect. I really hate to use the saying as I understand that this is theatre, but it just felt too arty-farty; we had a man on stage speaking rather loudly into a mic about who Plastic is, other than that there was little movement in body. It was incredibly hard to watch and I think if the performance was different the message could’ve actually resonated with some people, but faces in the audience were like mine. Confused and bored. This performance was supposed to finish at 9:15 but ended up going to 9:45, this extra 30 mins did feel dragged out because I wanted to leave, we were seeing pretty much the same thing again and again.

I generally love experimental theatre, I was people to break the boundaries and question everything. But this show for me felt like it was being artistic for artistic sake, the only saving grace was the comedy from the first performance. I could never label this as dance as it didn’t have the fluidity and rhythm you would expect. I would rather called the first performance physical theatre, and as it comes to the second performance I have no words what to call it. I hate to write a negative review because I appreciate the time and effort put into each performance but with this show I was not entertained and I didn’t really get anything out of it.

THE LIGHT IN THE PIAZZA: FURTHER CASTING ANNOUNCED

FOR SIX-TIME TONY AWARD-WINNING MUSICAL

●       World-Renowned Soprano, Renée Fleming, and star of Disney’s The Descendants, Dove Cameron, already announced in lead roles

●       Cast includes London stage favourites from musicals, opera and theatre, Rob Houchen,Celinde Schoenmaker, Liam Tamne, Marie McLaughlin and Malcolm Sinclair part of an all-star company

●       Daniel Evans leads world class creative team for London premiere of Craig Lucas and Adam Guettel masterpiece

●       Coming to the Southbank Centre’s Royal Festival Hall, 14 June – 5 July 2019 for twenty performances only with 35 piece orchestra of Opera North

Scenario Two are delighted to announce further casting for the London debut of the acclaimed Broadway musical The Light in the Piazza. The Light in the Piazza will be performed in a full staging at the Royal Festival Hall in a limited run of only twenty performances directed by Olivier award-winner, Daniel Evans, designed by Robert Jones with costumes by Brigitte Reiffenstuel, lighting by Mark Henderson and sound by Mick Potter.   The ravishing score will be played by the 35 piece orchestra of Opera North under the baton of Kimberly Grigsby, conductor of the original Lincoln Center production.

Joining Renée Fleming and Dove Cameron as (Margaret and Clara Johnson respectively) will be acclaimed West End star and 2019 Off West End award-winner, Rob Houchen, as Clara’s suitor, Fabrizio Naccarelli.   Rob’s previous credits include West End productions of Les Misérables and Titanic and he was most recently seen in his Offie winning performance in Eugenius!

Celinde Schoenmaker will play the role of  Franca Naccarelli.  Previously Celinda has starred as Christine Daaé in Andrew Lloyd Webber’s The Phantom of the Opera, and played the role of Fantine in the West End production of Les Misérables.   She is well-known for her YouTube and podcast collaborations with Carrie Hope-Fletcher.

Liam Tamne will play Guiseppe Naccarelli.  Previously Liam has taken the roles of Raoul in Phantom of the Opera, Enjolras in Les Misérables and Fiyero in Wicked as well as being a member of Will.i.am’s team on The Voice Season 2. 

Fabrizio’s mother Signora Naccarelli will be played by Olivier-nominated international  soprano, Marie McLaughlin, who has performed at many of the world’s leading opera houses including Covent Garden, The Metropolitan Opera, New York and Munich Opera.

Malcolm Sinclair will make a welcome return to the London stage as Margaret’s husband and Clara’s father, Roy Johnson. Malcolm’s career spans more than three decades and encompasses a vast array of West End, National Theatre and RSC productions alongside roles in films such as Casino Royale and V for Vendetta.

The rich singing talent in the company includes Matthew Woodyatt, Rhona McGregor, Tom Partridge, Molly Lynch, Nicholas Duncan, Chlöe Hart, Danny Becker, Monica Swayne and Simbi Akande.

Already announced are four-time Grammy winner and Tony nominee Renée Fleming who will be making her long-awaited London musical theatre debut as American Margaret Johnson, and Dove Cameron – who also makes her UK debut as Margaret’s troubled daughter Clara. Dove is best known for her role in Disney’s The Descendants trilogy.  She recently played the role of Amber von Tussle in NBC’s Hairspray Live! and starred as Cher in the Off-Broadway production of Clueless: The Musical.

Final casting is currently taking place for the featured role of Signor Naccarelli, Fabrizio’s father.  Scenario Two expects to make a major announcement within the next month regarding this role.

The Light in the Piazza

On its Broadway debut, The Light in the Piazza  was described by the New York Times as having“the most intensely romantic score of any musical since West Side Story”.

Based on the novel by Elizabeth Spencer, The Light in the Piazza bookis by Craig Lucas, with music and lyrics by Adam Guettel.  Set in Florence during the summer of 1953, it’s a touching and heart-wrenching love story.  A fateful gust of wind whisks Clara’s hat into the hands of local dreamer Fabrizio Naccarelli and It’s love at first sight. However, Clara isn’t quite what she appears and soon they must all confront a secret that’s been kept in the shadows for far too long. 

The Light in the Piazza’s rich, emotional score is a totally unique genre amongst Broadway musicals. Unapologetically lyrical and romantic, it transports us to 1950s  Florence in the period made famous by films such as La Dolce Vita for a romantic evening of love and light.

SHANE RICHIE TO STAR AS ARCHIE RICE IN A BRAND NEW VERSION OF JOHN OSBORNE’S

THE ENTERTAINER

EMBARKING ON A UK TOUR FROM SEPTEMBER

Shane Richie will play ‘Archie Rice’ in a brand-new production of John Osborne’s The Entertainer – chosen as one of the greatest plays of the 20^th century by Michael Billington.

Directed by Sean O’Connor, this innovative adaptation will open at Curve on 27 August 2019 and then tour the UK until November. For the first time since its premiere in 1957, this classic play will be given a vibrant new setting.

1982: Archie Rice is a washed-up entertainer playing a summer season. As his soldier son sails with the Task Force to liberate the Falklands, his daughter Jean returns from campaigning against the war, and Archie’s professional and personal lives collide with devastating consequences.

Curve’s Chief Executive Chris Stafford and Artistic Director Nikolai Foster said: “Osborne’s masterpiece was first presented in 1957 and alongside Archie Rice’s failing career, invited the audience to consider its own culture and what it meant to be English at a time of huge shifts within British society. Times have clearly changed, but as our country faces one of the most tumultuous periods since the end of the Second World War, the play once again captures the zeitgeist and is tantalisingly ripe for revival.

“It’s a thrilling play – epic and filled with humanity – and provides Shane Richie with a role he was born to play; we know it will be an hilarious and heartbreaking performance. We are also thrilled to welcome director Sean O’Connor to Curve, whose compelling vision for the play will reveal it afresh to an entirely new generation.”

Shane Richie said, “Following in the black patent shoes of Olivier, Gambon, Lindsay & Branagh, it’s an incredible honour to be asked to play one of literatures greatest fictional characters, Archie Rice. In the words of the great man himself “you’re a long time dead, let’s just whoop it up!“

Sean O’Connor said, “Osborne’s story of a man who faces the end of his career in the declining days of a popular art form in the context of Britain struggling to establish its place on the international stage has never seemed more relevant or more timely.

Against the backdrop of the Falklands War of 1982, the satirical new world of alternative comedy has dismissed Archie’s style of humour and his sort of act as old–fashioned and even offensive. The mother-in-law joke has been outlawed and a generation of entertainers like Archie have suddenly found themselves irrelevant.

At the same time, in the wake of recent abuse scandals, a certain cultural attitude- and a certain sort of man- has been exposed as outmoded and redundant; this is an Entertainer for 2019.

It’s a tribute to Osborne’s genius that this play resonates beyond the historical moment it was written in and speaks to us directly today with such prescience, power and truth. It’s THE state of the nation play, but it’s also a moving examination of family and failure as well as a defiant roar in the face of the relentless inevitability of change. 

I’m hugely excited to bring this new vision of one of the 20th century’s finest plays to the stage and completely thrilled to have secured Shane – one of the great entertainers of today – to play one of the most iconic roles in British theatre.”

Shane Richie has balanced a hugely successful forty year career between theatre, film & TV; and he has been a regular fixture on prime time television hosting such shows as Lucky Numbers (ITV), The Shane Richie Experience (ITV), Win, Lose or Draw (ITV), Don’t Forget the Lyrics! (SKY1), Reflex (BBC) and Win Your Wish List (BBC) to name but a few!

His numerous TV drama credits include Oliver Twist (BBC), New Tricks (BBC), We’re Doomed: The Dad’s Army Story (BBC), What We Did on Our Holidays (ITV), The Good Samaritan (ITV), As Good As It Gets (ITV), Skins (CH4), Moving On (BBC), Minder (CH5), Redwater (BBC), Benidorm (ITV), and Claude (Disney). Theatre credits include the London West End and Manchester production of Grease and One Flew over The Cuckoo’s Nest for a National tour. He stared in the musical Scrooge, and in two American classics titled ‘Lone Star and ‘Private Wars’ at The Kings Head Theatre London. February 2019 Shane stared as Hugo/ Loco Chanelle at London West End theatre, The Apollo in Everybody’s Talking about Jamie. And from the acclaimed writer Peter James, Shane played the leads in The Perfect Murder and Not Dead Enough. Shane also co-wrote and co-produced the national UK tour of ‘Boogie Nights’ which went on to a sell-out season at The Savoy Theatre in London’s West End. Film roles include Macbeth (CH4), The Reverend (Burn Hand Film), Prisoners of the Sun (Miromar Entertainment) and Flushed Away (Dreamworks Animation). In 2002; Shane created the lovable rogue Alfie Moon featuring in BBC One’s Eastenders. (Continuing). The role went on to earn Shane several industry awards and many accolades including Best Actor at the Rose d’Or Television Festival. In 2003 Shane wrote No.1 autobiography in The Sunday Times- Best Seller “Rags to Richie”.  In the same year, he released the No.1 record ‘I’m Your Man’ for BBC Children In Need. In 2017 Shane’s album ‘A Country Soul’ released for Warner Music; made it to No.1 once again, securing his position as the UK’s biggest selling country artist.

The Entertainer is a co-production between Curve, Anthology Theatre, and Simon Friend Entertainment.

Further casting and creative team to be announced.

To find out more about Curve, visit www.curveonline.co.uk

www.TheEntertainerPlay.co.uk

THE ENTERTAINER – UK TOUR DATES

Tuesday 27 – Saturday 31 August                                                              Box Office:  0116 242 3595

Curve Theatre, Leicester                                                                              www.curveonline.co.uk

Monday 2 – Saturday 7 September                                                           Box Office: 0844 871 7652

Milton Keynes Theatre                                                                                  www.atgtickets.com

Monday 9 – Saturday 14 September                                                        Box Office: 01684 892277

Malvern Festival Theatre                                                                            www.malvern-theatres.co.uk

Monday 16 – Saturday 21 September                                                      Box Office: 01752 267222

Plymouth Theatre Royal                                                                             www.theatreroyal.com

Monday 23 – Saturday 28 September                                                      Box Office:  0844 871 7645

New Victoria Theatre, Woking                                                                  www.atgtickets.com/woking

Monday 30 September – Saturday 5 October                                        Box Office: 01323 412000

Eastbourne Theatres                                                                                  www.eastbournetheatres.co.uk

Monday 7 – Saturday 12 October                                                            Box Office: 01902 429212

Wolverhampton Grand Theatre                                                               www.grandtheatre.co.uk

Tuesday 15 – Saturday 19 October                                                          Box Office: 024 7655 3055

Coventry Belgrade Theatre                                                                       www.belgrade.co.uk

Monday 21 – Saturday 26 October                                                          Box Office: 0844 871 7650

Theatre Royal Brighton                                                                              www.atgtickets.com/brighton

Monday 28 October – Saturday 3 November                                        Box Office: 0844 871 3018

Manchester Opera House                                                                         www.atgtickets.com

Monday 4 – Saturday 9 November                                                          Box Office: 020 3285 6000

Bromley Churchill Theatre                                                                         www.churchilltheatre.co.uk

Monday 11 – Saturday 16 November                                                      Box Office: 01242 572573

Cheltenham Everyman                                                                               www.everymantheatre.org.uk

Monday 18 – Saturday 23 November                                                      Box Office: 01743 281281

Shrewsbury Severn Theatre                                                                      www.theatresevern.co.uk

Curve

60 Rutland St, Leicester LE1 1SB

www.curveonline.co.uk

Twitter:@CurveLeicester Facebook:/CURVEtheatreLeicester  Instagram:  @Curve_Leicester

Box Office:                          0116 242 3595

                                                Monday – Saturday: 10am – 8pm (6pm non-performance days)

                                                Sunday: one hour before the performance

Curve is run by Leicester Theatre Trust Limited, a registered charity (no. 230708). We gratefully acknowledge and welcome the continued support of and partnership with the above organisations:

E.T. The Extra Terrestrial In Concert

Coming to Edinburgh’s Usher Hall

Tickets are on sale now at www.usherhall.co.uk

TM & © Universal Studios

Relive the magic of E.T. The Extra Terrestrial on the big screen accompanied by a magnificent, live performance of the Czech National Symphony Orchestra. Coming to the Usher Hall in Edinburgh on Saturday 20 April, tickets are on sale now at: www.usherhall.co.uk.

Director Steven Spielberg‘s heart-warming masterpiece is one of the brightest stars in motion picture history. Filled with unparalleled magic and imagination, E.T. The Extra-Terrestrial follows the moving story of a lost little alien who befriends a 10-year-old boy named Elliott. Experience all the mystery and fun of their unforgettable adventure in the beloved movie that captivated audiences around the world, complete with John Williams’ Academy Award®-winning score performed live by a full symphony orchestra in sync to the film projected on a huge HD screen!

The concert will see the Czech National Symphony Orchestra return to the venue following their highly acclaimed performance as part of the Usher Hall’s Sunday Classics series in 2018.

The CNSO has gained a position among both Czech and Europe’s top symphonic ensembles. Renowned for its versatility, the orchestra presents annually a broad program ranging from classical music concerts through contemporary genre, film scores, jazz, or musicals.

Tickets:

£49.50 | £31.80 | £35.20 | £27.50 | Includes booking fee.

at www.usherhall.co.uk and 0131 228 1155

Listings Information:

E.T. The Extra-Terrestrial with Czech National Symphony Orchestra

Sat 20 April 2019, 7.30pm

Usher Hall, Lothian Road, Edinburgh

Conductor: Ben Palmer

Classified U

JASON MANFORD TO STAR IN CURTAINS AT DARLINGTON HIPPODROME

Tickets are on sale now for the smash hit musical comedy Curtains starring Jason Manford at Darlington Hippodrome from Monday 11 to Saturday 16 November.

It’s murder putting on a new musical – literally!

Jessica Cranshaw, star of the new Broadway-bound musical Robbin’ Hood, has been murdered on stage on opening night! The entire cast and crew are suspects. Time to call in the local detective, Frank Cioffi, who just happens to be a huge musical theatre fan. With a nose for crime and an ear for music, Frank has his work cut out trying to find the killer whilst giving the show a lifeline.

Starring Jason Manford (The Producers, Chitty Chitty Bang Bang, Guys and Dolls), this hilarious whodunnit is packed full of catchy songs, unforgettable characters and plot twists galore! Written by Kander and Ebb, creators of Cabaret and Chicago, this Tony award winning backstage murder mystery musical will have audiences laughing and guessing right to the final curtain.

Curtains opens at Darlington Hippodrome on Monday 11 November and runs to Saturday 16 November. Tickets are on sale now.

For more information or to book call 01325 405405 or visit www.darlingtonhippodrome.co.uk

Union Theatre, London – until 9th March

Reviewed by Lisa Harlow

2**

The Phil Willmott Company brings this Belle Epoque era experience to the stage as part of the ‘Enemies of the People’ Essential Classics season.

It is set in Paris at a time of the introduction of the daring and vivacious can-can dance. Willmott has ‘freely adapted’ the ideas set within Pinero’s romantic comedy Trelawny of the Wells, in which a London theatre troupe take on a well to do family. Alongside many of Offenbach’s musical pieces are those of his contemporaries, with the production being the outcome of Wilmott’s exploration of a time full of librettos, waltz and advancing freedoms in fashion and expression.

If the focus and energy had been harnessed from the dancing,or indeed, more dancing had featured, this would have been a very different performance. The dynamism from the beginning and end dances were exciting and a worthwhile feast for the eyes, and the ballet duet between Christian (Damjan Mrackovich) and Jane (Kathy Peacock) was poetical and graceful. Beyond these interludes of movement, there lay a cliché storyline.

The stereotypical roles both in the theatre troupe of ‘gypsies’ in contrast to the starched family of bankers (the Bontoux) played out predictably. After Jane’s engagement to Christian is tested beyond limit, pushing her to return to her theatre family, the storyline plods along with some light-hearted moments and amiable musical numbers. The action is all rather lacklustre however, in spite of the best efforts of some of the cast members. Offenbach (Sam Woods) himself is a figure of frothy fun throughout and Monsieur Bontoux’s (Phil Willmott) revelations are entirely perplexing. If only the flair and colour provided from the dancing could have injected more life force into the plot. The promise of the title and the historical era it is set within, unfortunately failed to deliver any feathery vibrancy and depth.

Soho Theatre London -until 16th February

Reviewed by Heather Chalkley

4****

We were thinking our view of the stage is blocked until this bear of a man walked on. Comedian Garrett Millerick carries a big presence both physically and energetically. His use of the stage and booming voice fills the room.

Millerick tells a story of two halves, sown together with an honesty and sensitivity that keeps the audience fully engaged. He unfolds the traumatic experience of loosing a baby and almost loosing his wife. The overwhelming impression is his love, to do the the thing he does best and desperately holds on to throughout- to make his wife laugh. With no control over everything else happening, he could at the very least do that.

Millerick’s command of the stage was balanced with the real emotion seen in his eyes, the soft and light tones of his voice. He uses the spoken word to build a clear picture of that awful night, leaving you with no illusions about how desperate it was. He gave a true life experience of how impersonal the NHS can become when it is at full stretch and beyond. There will be some part of this performance that will strike a cord with every audience member and then make you laugh harder and deeper as a result. Because you can find something to laugh about in the context of every situation. Garrick says, in fact it is important to do that so you can live through it. Garrick illustrated this with examples of humorous situations taken out of context and turned into something nasty and ugly by the national press.

In the end the self professed clown finished with the chorus of Chesney Hawk’s ‘I am the one and only’, which was very funny within the context!

Old Red Lion Theatre -until 2 March

Reviewed by Claire Roderick

4****

Rachel Harper’s new play opens with Em (Harper) standing on a station platform, ready to step over the yellow line into the path of an approaching train. She doesn’t but spots a baby carrier on the platform. Unable to recognise the baby as her own, Em reluctantly stays with it and begins talking about her life and what brought her to this point.

Harper, drawing from one woman’s real-life experience and therapy sessions, has created a fast-paced monologue that perfectly captures Em’s fractured mental state. The story swerves back and forth from Em’s tragic childhood to her unhappy marriage to musings about motherhood in the animal kingdom with moments of frank horror and dark, dark humour. Em’s armour against the world is her humour, but Harper masterfully captures the near hysteria in her laughter that could turn into a heartrending howl of pain in a heartbeat. Harper’s performance is dynamic and pitch perfect. She is never still, in the quieter moments Em’s inner turmoil is always visible, through drumming fingers or almost unnoticeable tiny movements of her head and hands.

Even though Em is a dog groomer, she constantly returns to the fact that she cannot understand why people would want a pet or a child to take care of. There are some lovely lines about babies being master manipulators to avoid being dumped in the woods, and the descriptions of Em’s husband, Ian, are wonderfully bitchy. Amongst the belly laughs, postnatal depression, mental stress and breakdowns are discussed with arch humour but unsentimental and piercing understanding. The comparison of the Japanese art of repairing a broken pot using gold and “fixing” a shattered mind is one will set you giggling and sobbing at the same time.

This engaging and entertaining play is a wonderful way to open dialogue about pre and postnatal depression and needs to be seen by as wide an audience as possible.

Lyric Hammersmith presents a bold new production ofNoises Off directed by Jeremy Herrin

By Michael Frayn

Directed by Jeremy Herrin

Designed by Max Jones

A Lyric Hammersmith production 

27 June 2019 – 27 July 2019

Michael Frayn’s award winning Noises Off makes a welcome return to the Lyric Hammersmith nearly forty years since it premiered to great acclaim at the theatre in 1982 and instantly became an iconic British comedy. The multi award winning backstage comedy, which runs from 27 June until 27 July, will be directed by Jeremy Herrin and designed by Max Jones in a new production.

With technical brilliance and split-second timing, it takes us behind the scenes with a company of actors in a hilarious and heartfelt tribute to the unpredictability of life in the theatre.

Hailed as one of the funniest plays of all time, Noises Off makes its triumphant return to the Lyric almost 40 years on, in a bold new production by Jeremy Herrin (Wolf Hall/This House) for fans to enjoy and new audiences to discover.

Michael Frayn said, “It’s a great personal pleasure for me, of course, to see my play come home, after all its travels around the world in the last forty years, to the theatre where it took its first hopeful but still uncertain steps.”

Casting and full creative team to be announced.

Michael Frayn has written sixteen plays, including Copenhagen, Afterlife, Benefactors, Donkeys’ Years, and Democracy. He has also translated for the theatre, mostly Chekhov and other plays from the Russian, and adapted Chekhov’s first, untitled play as Wild Honey.  He has written a number of screenplays, including Clockwise, starring John Cleese. His eleven novels include The Tin Men,Towards the End of the Morning, Headlong, Spies, and Skios. He has also published various collections of articles, including Collected Columns, Stage Directions, and Travels with a Typewriter; two works of philosophy, Constructions and The Human Touch; and a memoir, My Father’s Fortune.  His most recent book, Matchbox Theatre, a collection of thirty short entertainments, was produced on the stage by Hampstead Theatre in May 2015. Copenhagen was revived at the Chichester Festival Theatre in 2018 (director Michael Blakemore).

Jeremy Herrin is Artistic Director of Headlong. His directing credits for Headlong include All My Sons(The Old Vic), Labour of Love (Noël Coward Theatre); People, Places and Things (National Theatre/West End/UK Tour/New York); This House (National Theatre/West End/UK Tour), Common (National Theatre); The House They Grew Up In (Chichester Festival Theatre); Junkyard (Bristol Old Vic/Theatr Clwyd/Rose Theatre Kingston); The Nether (Royal Court/West End); Observe the Sons of Ulster Marching Towards the Somme (UK Tour) and The Absence of War (UK Tour). Other directing credits include the world premiere of Hilary Mantel’s Man Booker prize-winning novels Wolf Hall and Bring Up the Bodies in two parts (RSC/West End/Broadway) for which he was nominated for an Olivier and Tony Award for Best Director, That Face (Royal Court/Duke of York’s); Tusk Tusk for which he received an Evening Standard Award nomination, No Quarter, Hero and Kin, The Heretic, The Priory, The Vertical Hour (Royal Court); The Plough and the Stars (National Theatre, co-directed with Howard Davies); The Moderate Soprano (Hampstead Theatre); Another Country (Chichester Festival Theatre /West End); The Tempest, Much Ado About Nothing (Shakespeare’s Globe); Uncle Vanya (Chichester Festival Theatre) and Absent Friends (Harold Pinter Theatre).

Max Jones is currently working on All My Sons (Old Vic). Credits include: Shakespeare In Love (UK tour); Crime and Punishment, A Streetcar Named Desire, Orpheus Descending (Bunkamura, Tokyo);Meek (Headlong); Close Quarters; Love and Information (Sheffield Theatre); The House They Grew Up In (Headlong and Chichester Festival Theatre); The Hypocrite (RSC/Hull Truck); The Shoemakers Holiday, Merry Wives of Windsor (RSC); True West (Citizens Theatre Glasgow & Tricycle, UK theatre award nomination,); Trainspotting, A Day in the Death of Joe Egg, The Caretaker (Citizens Theatre, Glasgow); Pride and Prejudice (Regent’s Park Open Air Theatre & UK tour); The York Mystery Plays (York Minster); The Crucible, Brilliant Adventures, Miss Julie (Royal Exchange);  A Time To Reap, Spur of the Moment (Royal Court); Così Fan Tutte (Welsh National Opera & UK tour); Little Shop of Horrors, Educating Rita, Glengarry Glen Ross, Bruised, A Doll’s House, Dancing at Lughnasa, Blackthorn, A Small Family Business, Mary Stuart, Measure for Measure, Two Princes, The Grapes of Wrath (Theatre Clwyd); Queen Coal (Sheffield Theatre);  The Broken Heart, The Tempest (Shakespeare’s Globe); Play Strindberg (Ustinov, Bath);  Much Ado About Nothing (NPAC, Japan); Of Mice and Men (West Yorkshire Playhouse); The Winter’s Tale (Regent’s Park Open Air Theatre);  Twist of Gold (Polka Theatre); Fatherland (Gate Theatre and Munich); The Hard Man (King’s Edinburgh and UK Tour); Party (Arts Theatre); Mad Forest (JMK Award, BAC); Dumb Show (New Vic Theatre, Stoke); Sweeney Todd (Welsh National Youth Opera); The Lady from The Sea (Theatre Genedlaethol Cymru); Blasted (The Other Room); The Life of Ryan…and Ronnie (Script Cymru) and Salt Meets Wound (Theatre 503).

Max is a graduate of the Royal Welsh College of Music and Drama in Cardiff and was a winner of the Linbury Biennial Prize for Stage Design in 2001. He was formerly an Associate Artist at Theatre Clwyd under Terry Hands.

WINNERS ANNOUNCED FOR ACTING FOR OTHERS’ GOLDEN BUCKET AWARDS 2019

Theatrical charity, Acting for Others today announces the winners for the Golden Bucket Awards 2019. The ceremony took place at the Prince of Wales Theatre and was hosted by Carl Mullaney. The awards celebrate some of the most supportive and successful fundraisers who have helped the charity raise over £400K in the last twelve months both through bucket collections across UK theatres and a variety of events throughout the year.

The awards were attended by nominees and friends of the charity including Jenny Agutter, Christina Bianco, Samantha Bond, Kara Lily Hayworth, Sara Kestelman, Robert Lindsay and Dame Monica Mason. Presenters include Ben Forster, Ginny Holder, Danielle Hope, Geraldine James, John Partridge, Harriet Thorpe and Hannah Waddingham.

Stephen Waley-Cohen, said today, “We are delighted to see so many of our supporters at this year’s Golden Bucket Awards. Congratulations to all the nominees and winners and a huge thank you to everyone who has so generously donated throughout 2018 and made this a record-breaking year for Acting for Others!”

FULL LIST OF WINNERS

IT STARTS WITH A SPEECH

This award is for those that made the speech night after night encouraging audiences to donate, making a huge impact during the Bucket Collections in 2018.

Winner: John Partridge

FABULOUS FUNDRAISING AWARD

This award is for the most inventive way of fundraising for Acting for Others.

Winner: Patti LuPone

SOCIAL BUTTERFLY

This category is for those supporters that have spread the ‘Acting for Others’ message in person, on social media and always make a noise about our campaigns.

Winner: The Theatre Cafe

WHERE WOULD WE BE WITHOUT YOU AWARD

This recognises those in the industry that actively promote donations throughout their companies and help to ensure the success of the theatre bucket collections – they are Acting for Others’ ‘go to’.

Winner: Bill Kenwright Ltd

SUPERSTAR AWARD

This is the award for someone that has gone above and beyond with their support for Acting for             Others.

Winner: Cleve September

FANTASTIC FRONT OF HOUSE AWARD

The generosity and dedication from the theatre management and front of house staff are invaluable. They are there for us coordinating the team and ready with the collection buckets each night.

Winners:Victoria Palace Theatre and Hamilton

THE GOLDEN BUCKET AWARD – REGIONAL

This is the regional theatre that raised the most in the 2018 Theatre collections.

Winner: Wicked and The Mayflower Theatre

THE GOLDEN BUCKET AWARD – LONDON

This is the London theatre that raised the most in the 2018 Theatre collections.

Winner: The Book of Mormon and Prince of Wales Theatre